Last night I made my first trip up to Sangha (don’t bother with their website, it’s pretty dysfunctional) in Takoma Park, Maryland, to see The Thing. It’s kind of amazing that somehow I’ve never been to Sangha before, as they regularly host Transparent Productions and other off-the-beaten-path shows there. The Thing offered up a good first show! Consisting of drummer Paal Nilssen-Love, bassist Ingebrigt Håker Flaten, and saxophonist Mats Gustafsson, this is an avant/free-jazz trio with a penchant for covering pop/rock songs — in the set they played, they “covered” pieces by Lightning Bolt and the Yeah Yeah Yeahs; their recorded output includes covers of PJ Harvey and The Strokes songs.
In this particular show, the covers were fairly opaque to me — it seemed like they were pretty much just improvising the whole time, playing loose and free until all of a sudden they were playing some ridiculous unison lines or coming to a full stop altogether, seemingly without any visual or auditory cues that I could discern. It was pretty amazing. I saw Nilssen-Love and Håker Flaten with Atomic a few months ago, and they were equally jaw-dropping this time around; Nilssen-Love was on fire the whole time, hands all over the kit (he did play some more straightforward lines once or twice, and that was fun to see), while Håker Flaten’s thinking on his feet was really fun to watch, and he was absolutely fierce, punishing his instrument as much as he played it. I’ve been scared off by Gustafsson on record a couple times, but he was reasonably accessible here, and is one of the most physical players I’ve ever seen — at times dancing with his instrument, at other times fighting it, at all times moving his entire body with the flow of his music.
But it was collectively that these three guys were most impressive; I mentioned in my comments on Atomic’s show that it was fun watching their visual cues, but as I already said, I couldn’t discern any cues whatsoever with these guys. This kind of telepathy is neat when it’s with a group playing carefully composed pieces (say, Ahleuchatistas), but it’s even more impressive when it comes in the context of wild collective improvisation. The ease with which this trio went from dissonant improv with free-flowing rhythms to garage-rock anthems with pounding 4/4 drums, and then back again, was pretty great.
While I still prefer the more structured work of avant-jazz groups like Atomic, The Vandermark 5, or various Tim Berne groups, these last two shows I’ve seen (this one and Brötzmann/Pliakas/Wertmüller last week) have definitely been helping to build my ever-growing interest in the freer stuff.